INTERNATIONAL APPLICANT GUIDANCE FOR ONLINE AUDITION (FEMALE)

Transcription

1 INTERNATIONAL APPLICANT GUIDANCE FOR ONLINE AUDITION (FEMALE) Your Audition ESSENTIAL CRITERIA Once you have applied for your chosen course, you can submit a DVD or a video link (e.g youtube channel) audition if you are an international student and are unable to attend an audition in the UK. You are not required to pay an audition fee. DVDs should be sent to - Royal Birmingham Conservatoire (Acting), Birmingham City University, 200 Jennens Road, Birmingham, B4 7XR. Video link auditions should be sent to bsaadmissions@bcu.ac.uk. All auditions should be submitted within four weeks of submitting your application form. Please ensure that we can see the whole of your body throughout the audition it is not necessary to provide close-ups or produce an edited piece of television, but you should ensure that the sound quality is sufficient for us to make an accurate assessment of your voice. You should supply the title, author and, if relevant, translator details with your speeches. SPEECHES AND FEEDBACK You should present two speeches which will be submitted to the course director. You should give a brief resume of the plays and characters, and what happens immediately before and after the scenes presented. You should also include reasons for your choice of speeches and your motives for attending drama school. You must prepare and memorise two contrasting speeches from different plays, one of which must have been written in the last 20 years and one of which must be from an Elizabethan / Jacobean play. A suggested list of Elizabethan / Jacobean pieces can be found in Suggested Audition Selections, below. Each selection should be no more than two minutes in length and suitable for your gender, age and experience (you may be stopped if a speech exceeds two minutes in length).

2 All speeches should be from published plays. Excerpts from film script, television dramas and unpublished plays are not advisable. You should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author if relevant and translator. You may be asked questions about the play and your character s journey within it (i.e. their motives etc.). It is preferred that the content of the speeches should be something to which you can relate and understand. It is not advised that you attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech. Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant. Criteria for Speeches Energy Achievement of contrast Choice of speeches Creation of environment Spatial awareness Use / handling of language Suitability of physicalisation Power to hold an audience Identification with character Potential for development through training SONG Your song will be viewed and assessed by the Head of Singing. As with your acting selections, your song should be a published work with accompaniment. We are interested to see how you interpret a song and its content. We appreciate that some candidates are not experienced singers but we do not believe that this stops anyone from expressing the style and content of a song. It is important that you choose a song suitable for your voice, gender and age. Song criteria Qualities: including speech, twang, falsetto Technique: including breathing, body alignment Story Telling: journey of the song DEVISED PIECE OF MOVEMENT You should perform a devised piece of movement for a maximum of two minutes where the course director can see your whole body in motion. Alternatively, if you have footage from a show or production that you have been involved in, you could submit that instead.

3 Movement criteria Focus and Concentration Imaginative and creative response Listening and responding Physical coordination Sense of Rhythm Physical confidence Ability to transform Engagement Flexibility Posture/Stance CRITERIA FOR AUDITION ASSESSMENT The assessment of each candidate is based upon a set of criteria used consistently by staff, who comment on and mark the work shown. DECISION ON AUDITION Decisions for international students applying via video/dvd may take up to 30 days of our receipt of your audition. If a decision cannot be reached regarding your audition, you may be asked to attend a recall audition in person in the UK. A schedule of recall dates is listed on our website. Should you not be offered a place, you can re-apply for the following academic year. Feedback is not provided for online auditions. Suggested Audition Selections for Women The following list are suggested pieces only, and are not mandatory. If you have your own ideas, please do not hesitate to use them: Female Isabella (Women Beware Women) Act 1 Sc 2 lines From: Marry a fool To: When my best friend s distress d? What is t afflicts you, sir? Julia (Two Gentlemen of Verona) Act 1 Sc 2 lines From: Nay, would I were so angered with the same. To: Now kiss, embrace, contend, do what you will. Diana (All s Well That Ends Well) Act 4 Sc 2 lines From: When midnight comes, knock at my chamber window To: To cozen him that would unjustly win. (ignoring Bertram) Cressida (Troilus and Cressida) Act 3 Sc2 lines From: Hard to seem won; but I was won, my lord To: My soul of counsel from me. Stop my mouth. Helena (All s Well That Ends Well)

4 Act 3 Sc 2 lines From: Till I have no wife I have nothing in France. To: For with the dark, poor thief, I ll steal away. Annabella ( Tis Pity She s A Whore) Act 5 Sc 1 lines 1 23 From: Pleasures, farewell, and all ye thriftless minutes. To: The torment of an uncontrollèd flame; Gaoler s Daughter (Two Noble Kinsmen) Act 2 Sc 4 lines 1 33 From: Why should I love this gentleman? To: And this night; ere tomorrow he will love me. Female Margaret (Henry VI ii) Act 3 Sc 1 lines 4 41 From: Can you not see, or will ye not observe. To: Or else conclude my words effectual. Annabella ( Tis Pity She s a Whore) Act 5 Sc 1 lines 1 37 From: Pleasures, farewell, and all ye thriftless minutes. To: I long have died in. (ignoring Friar) Sylvia (Two Gentlemen of Verona) Act 4 Sc 4 lines From: O Eglamour, thou art a gentleman-. To: That I may venture to depart alone. Lady Percy (1 Henry 1V) Act 2 Sc 4 lines From: O my good lord, why are you thus alone. To: And I must know it, else he loves me not. Queen Isabel (Richard II) Act 5 Sc 1 lines 1 15 & From: This way the King will come. This is the way. To: When triumph is become an alehouse guest? and From: What, is my Richard both in shape and mind. To: Which art a lion and the king of beasts? Luciana (Comedy of Errors) Act 3 Sc 2 lines 1 28 From: And may it be that you have quite forgot To: When the sweet breath of flattery conquers strife.

5 Portia (Merchant of Venice) Act 3 Sc 2 lines From: Away then. I am locked in one of them To: I view the fight than thou that mak st the fray. Female Titania (Midsummer Night s Dream) Act 2 Sc 1 lines From: These are the forgeries of jealousy To: We are their parents and original. Portia (Julius Caesar) Act 2 Sc 1 lines From: Nor for yours neither. You ve ungentley, Brutus To: Even from darkness. (excluding Brutus) Beatrice-Joanna (The Changeling) Act 4 Sc 1 lines 1 19 From: This fellow has undone me endlessly. To: Sure twas forgot; I ll be so bold as look in t. Vittoria (The White Devil) Act 4 Sc 2 lines From: What have I gain d by thee but infamy? To: I ll not shed one tear more; - I ll burst first. Lady Macbeth (Macbeth) Act 1 Sc 5 lines & From: Glamis thou art, and Cawdor, and shalt be To: To have thee crowned withal and From: The raven himself is hoarse. To: To cry Hold, hold! Female 30+ Margaret (Henry VI iii) Act 5 Sc 4 lines 1 38 From: Great lords, wise men ne er sit and wail their loss To: Twere childish weakness to lament or fear. Volumnia (Coriolanus) Act 5 Sc 3 lines From: Nay, go not from us thus. To: This is the last.

6 Nurse (Romeo and Juliet) Act 1 Sc 3 lines From: Even or odd, of all days in the year To: And, pretty fool, it stinted and said Ay. Margaret (Richard III) Act 4 Sc 4 lines From I called thee then vain flourish of my fortune ; To These English woes shall make me smile in France. Constance (King John) Act 2 Sc 2 lines 1 26 From: Gone to be married? Gone to swear a peace? To: But this one word: whether thy tale be true. Duchess of Gloucester (Richard II) Act 1 Sc 2 lines From: Why then, I will. Farewell, old Gaunt. To: The last leave of thee takes my weeping eye. POINTERS TO HELP AVOID CHOOSING THE WRONG PIECE Avoid materials unsuitable for your age and pieces where you have no understanding/experience of the context of the piece Avoid screenplays Avoid pieces made famous by an Actor. (you will only draw comparisons) Finally, may we remind you that the contemporary speech should have been written within the last 20 years; Road, by Jim Cartwright, was written in The idea is for you to be able to demonstrate your knowledge of contemporary repertoire. Utimately, choose something that you feel confident with and you believe will demonstrate your potential to train as an Actor at Royal Birmingham Conservatoire (Acting). What happens next? Following an audition and/or interview, one of the following outcomes is possible: You are offered a place on the course This will be communicated to you through your Applicant Portal and via . You are not offered a place on the course You cannot re-apply for a place on the same course in the same academic year.

7 You are offered an alternative place on our 20-week Foundation in Acting course You are asked to attend a recall audition in the UK